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Hvem er piraterne?


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Hvem er piraterne?

IFPI London har analyseret de første europæiske piratsager. Og baseret på de allerede afsluttede sager, kan det konstateres, at flertallet er mellem 25 og 35 år, og over 2/3 er mænd. Hovedparten bor i de større byer, og størstedelen af de ulovlige musikfiler, de gør tilgængelige for andre, er hitlistemusik. De har alt lige fra nogle få hundrede til titusinder af filer på deres server. I den største sag havde piraten 56,000 numre på sin computer - svarende til mere end 5,000 albums.

Beskæftigelsesmæssigt har de meget lidt til fælles - udover deres ulovlige aktiviteter på internettet. De kommer fra alle dele af samfundet: Lærere, studerende og IT-folk, men også en dommer, en kok, en sygeplejerske, en lastbilchauffør, en bilsælger, en direktør og et byrådsmedlem har måttet betale for deres ulovlige virksomhed.

IFPI’s internationale chef, John Kennedy, siger: - "Vi vælger dem ikke - de vælger sig selv på grund af det store antal filer, de stiller til rådighed. Det er ikke rart at skulle sige, at nogle af dem har måttet betale substantielle beløb. Men de ignorerede advarslerne. Jeg håber, andre lærer af de menneskers erfaringer, som valgte ikke at købe deres musik lovligt."

12042005 http://www.pladebranchen.nu/?id=191
APG: Musikjournalisternes kritik baserer sig på falsk grundlag

Foreningen af Danske Musikkritikere (FDM) har i en pressemeddelelse den 20. december offentliggjort de nominerede til foreningens årlige prisfest i januar. I kategorien ”Årets Nye Idé” har journalisterne, der bl.a. kommer fra Jyllands-Posten, Politiken, Berlingske Tidende, Ekstra Bladet og BT, nomineret ”Piratgruppen”, som nogle erklærede musikpirater tidligere på året dannede som protest mod AntiPiratGruppen.

 

Musikjournalisterne forsøger i pressemeddelelsen at tage brodden af den kritik, som man åbenbart forventer, nomineringen vil møde. Man forklarer således sit skulderklap til Piratgruppen med ”AntiPiratGruppens retslige position. Denne private organisation kan f.eks. foretage ransagninger af private hjem. Det kræver, at en dommer afgiver ransagningskendelse, men det er AntiPiratGruppen selv, der står for ransagningen. Ikke politiet. Man har altså vurderet, at jagten på folk, der kopierer musik eller film, er så vigtig, at en privat organisation skal have beføjelser på linje med politiets”. Dette enlige eksempel leder FDM til efterfølgende at tale om ”et reelt demokratisk problem”.



 

AntiPiratGruppens advokat, Torben Steffensen, kommenterer FDM’s fremstilling således:

 

"Det er bekymrende og stærkt betænkeligt, at det eneste konkrete eksempel på AntiPiratGruppens arbejde, journalisternes giver som baggrund for deres nominering af Piratgruppen, er falsk. Det er således usandt, at "...det er AntiPiratGruppen selv, der står for ransagningen". AntiPiratGruppen står ikke for og har aldrig forestået nogen ransagninger. Det er alene politiet, der gør det. Når AntiPiratGruppen får nedlagt forbud og udleveret materiale fra besøg hjemme hos private eller andre, er det kun sket, når der f.eks. er blevet udbudt betydelige mængder beskyttet musik og film over nettet. Og det sker altid med en fogeddommers tilstedeværelse og en ekstern IT-sagkyndigs deltagelse. Hertil kommer, at AntiPiratGruppen først får udleveret navn og adresse på den pågældende person efter, at en dommerkendelse foreligger. Domstolene er således involveret hele to gange forud for, at en sådan fogedsag kan gennemføres”, forklarer Torben Steffensen.



 

AntiPiratGruppen har den 21. december udsendt en pressemeddelelse, hvori man gør rede for  sagens rette sammenhæng. AntiPiratGruppen, hvis bagland udgøres af såvel producenter som udøvende og skabende kunstnere fra både musik- og filmbranchen, har desuden udbedt sig en uforbeholden berigtigelse fra musikjournalisternes side. Ved redaktionens slutning (22. december kl. 20) havde FDM endnu ikke reageret.

 

FDM består af 18 musikjournalister, og har ifølge foreningens hjemmeside (www.steppeulv.dk) ikke optaget nye medlemmer i mere end to år. Det er dagbladet Informations skribent, Klaus Lynggaard, der er formand for foreningen. FDM har eksisteret siden 2002, og det er tredje gang, man arrangerer prisfesten Steppeulven.


22122004 http://www.pladebranchen.nu/?id=149
IFPI today releases The Recording Industry In Numbers, the most authoritative and complete source of information on the worldwide recording industry.

The eleventh edition of the RIN contains statistics and analysis of 68 countries' music markets around the world. It includes a breakdown of the most popular genres in the main markets, examines the changing face of music retailing and consumption, gives an overview of the growing market for digital music and charts the history of world sales of recorded music since 1969.



Highlights of the 2004 edition include:

The top 50 best-selling albums, globally, in 2003. The year's best-selling album was Norah Jones' Come 'Away With Me', followed by (in order of sales): 50 Cent 'Get Rich or Die Tryin'', Linkin Park 'Meteora', Dido 'Life for Rent', Beyonce Knowles 'Dangerously in Love', Coldplay 'A Rush of Blood to the Head', Evanescence 'Fallen', Britney Spears 'In the Zone', Avril Lavigne 'Let Go' and Celine Dion 'One Heart'. The major companies' top ten albums and top ten videos are also listed.

Market shares of the major and independent companies by country. For the first time IFPI has produced market shares based on wholly or majority owned content on a country by country basis. This is in addition to regional and world market share figures, published for the first time by IFPI in the 2002 edition. The global market shares for 2003 are: BMG - 11.9%, EMI - 13.4%, Sony -13.2%, Universal - 23.5%, Warner - 12.7% and independents - 25.3%.

Analysis of trends in retailing and music-to-mobile. In the retail sector there is a clear trend towards non-specialist retailing and sales of music over the internet. For example, in the UK, supermarkets' share of the market increased from 8.9% in 1999 to 21.9% in 2003. In France, where the trend is more pronounced, hypermarkets accounted for 39% in 2003. Internet sales - the sale of physical product via online stores - has increased in Germany from 1% in 1999 to 12% in 2003. This section also charts retail trends across five years in seven major markets.

An overview of the still nascent music-to-mobile market, a potentially exciting growth channel, includes details of the sector and the main service launches.



Overview of each of the world's main music markets. Country data is given on 68 markets around the world, including the number of annual album releases; recent national developments in the online market; and links to chart information and chart-compiling bodies in virtually every country.

Hardware penetration, compilations, repertoire, genre and consumer trends. This section looks at the percentage of households with CD, DVD and digital players, as well as mobile ownership, internet and broadband penetration.

There is new data on the compilations market, with Romania the world's biggest market for compilations at 41% of unit sales. Repertoire trends by country include the percentage of domestic versus international. Genre trends across five years are also listed. An overview of the classical music market shows it has slipped from $US1.5 billion value in 1999 to US$0.9 billion in 2003.

Sales by age are also shown across six countries over five years. Sales among younger buyers are dropping.

http://www.ifpi.org/site-content/press/20040914.html

Why is piracy illegal


What is copyright?

Virtually everyone dealing with music piracy knows that it is illegal, but why it is illegal is not so well understood. The answer lies primarily in the way that copyright laws apply to music (see What is copyright?)

To ensure there are proper incentives for companies to continue investing in the creation, production, promotion and marketing of sound recordings, international treaties [ WIPO, TRIPS ] and national laws grant producers of sound recordings various rights in those recordings. These rights include the exclusive right to commercially copy the recordings and to distribute/import/export those copies. Depending on the country you live in, these rights may be called copyrights, or 'related' or 'neighbouring' rights. These are separate to any rights that may subsist in the music or the lyrics that are being recorded.

It is these rights that enable law enforcement bodies to take criminal action against those who copy and distribute music without the permission of the record companies that invested in producing it. They also allow record producers to take civil actions to recover compensation for damages suffered as a result of music piracy. While there are often other laws or regulations that are broken by music pirates (eg. tax laws, trademark laws), the rights of music producers under copyright or related/neighbouring rights laws are the fundamental basis for the illegality of music piracy.

http://www.ifpi.org/site-content/apresources/why_is_piracy_illegal.html

What is copyright?

Copyright is the means by which a person or a business makes a living from creativity. Copyright springs from a simple notion: the people that create, produce or invest in creative work should be the ones that decide how that work should be reproduced and made available to the public.

Enshrined in international law for more than 200 years, copyright provides the economic foundation for creating and disseminating music, literature, art, films, software, and other forms of creative works. Copyright also protects culture and fosters artistic integrity.

Copyright provides that the rights holders determine whether and how copying, distributing, broadcasting and other uses of their works take place. This gives talented people the incentive to create great works, and entrepreneurs the economic reasons to invest in them.

Copyright has underpinned an extraordinary modern economic success story, accounting for tens of millions of jobs worldwide. The dramatic growth of the artistic, cultural and other creative industries in today's major economies would have been impossible without the strong levels of copyright protection that those countries have developed over many decades.

The latest available government estimates in Europe and the United States value copyright-based industries respectively at 360 billion Euros and US$430 billion, representing more than 5% of GDP. As we enter the age of electronic commerce, copyrighted material will be one of the most valuable commodities to be offered and sold on-line.

Copyright and the music industry

Copyright protects everyone involved in the music industry - from the aspiring artist to the successful best-seller, and from the local independent record company to the large multinational producer. It ensures that all the parties that have had a part in creating the music are rewarded for their work.

Copyright and similar rights protect the true value behind the sale of any musical recording - these rights represent and reward the creativity, sweat and toil of those who create and sell music. The proportion of the price of a CD or cassette accounted for by the cost of manufacturing the product is minimal. The real value is in the rights and the creativity that they protect.

The international recording industry is driven by dynamism and enterprise, but these would be meaningless in a world of inadequate copyright protection. Record companies invest billions of dollars of the industry's total worldwide revenues in new artists, many of whom will never prove commercially successful. It is this culturally diverse bedrock of investment in new talent that weak copyright protection hurts most.

Copyright and the fight against piracy



What is piracy?

There are many different terms for it, but unauthorised copying and dissemination of copyrighted works is theft, pure and simple. Pirates are the enemy of creativity and all creators.

Piracy is the illegal copying of sound recordings, typically for financial gain. In the music industry, piracy represents a massive US$4.5 billion illicit enterprise, with ever-closer links to international organised crime.

Pirates thrive on weak copyright laws as well as on poor law enforcement. In today's global economy, counterfeiters and other pirates are able to seek out havens of poor copyright protection and ineffective anti-piracy enforcement. The advent of the mass-produced CD has changed the face of piracy from a problem largely confined to local borders to a sophisticated international trade.

Copyright and the Internet

A new era of piracy on the internet poses potentially even greater problems than the proliferation of CD piracy.

The recording industry is fast entering the age of digital distribution. Technologies of music delivery are changing radically, bringing tremendous benefits to producer, distributor and consumer. To secure the same sort of protections in the on-line world that the music industry enjoys in the analogue world, copyright laws need updating.

The fundamental principles behind the laws, however, remain unchanged. Copyright laws must ensure that artists, composers and record producers are strongly protected from internet piracy. Rights holders also need to be able to use the technologies of the internet to manage and control the use of their works.

The international legal framework





Legal issues
International conventions
TRIPS
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